Martin Scorsese Dates: December 11, 2016–April 23, 2017 Location: Museum of the Moving Image 36-01 35 Ave, Astoria, New York 11106

Total Page:16

File Type:pdf, Size:1020Kb

Martin Scorsese Dates: December 11, 2016–April 23, 2017 Location: Museum of the Moving Image 36-01 35 Ave, Astoria, New York 11106 EXHIBITION FACT SHEET (Preliminary) Title: Martin Scorsese Dates: December 11, 2016–April 23, 2017 Location: Museum of the Moving Image 36-01 35 Ave, Astoria, New York 11106 Travel directions: By subway, N/W train to 36 Ave. or M/R to Steinway Street Information: www.movingimage.us / 718 777 6888 Hours: Tuesday & Wednesday, 10:30 a.m. to 2:00 p.m. Friday, 10:30 a.m. to 8:00 p.m. Saturday & Sunday, 11:30 a.m. to 7:00 p.m. Please check holiday hours for closings and special openings Admission: $15 adults (ages 18+), $11 seniors & students, $7 youth (3–17) Free for Museum members. Free every Friday, 4:00 to 8:00 p.m. Group rates are available, advance booking required; contact: [email protected] / 718 777 6820 Social media: #ScorseseMoMI FB: facebook.com/MovingImageMuseum Twitter/Instagram: @movingimagenyc Description: Martin Scorsese, the first major exhibition about the director, demonstrates Scorsese’s creative and collaborative process. In parallel, it sheds light on how his work is both deeply personal and reflects a profound knowledge and love of cinema. The exhibition is primarily drawn from Martin Scorsese’s private collection, enhanced by items from prominent American and European archives. It was organized by the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin. Exhibits: Approximately 600 objects, including storyboards, family photos, excerpts from film scripts, editing boards, correspondence, as well as unpublished production and still photographs from Martin Scorsese’s private collection, New York; costumes and documents from the Robert De Niro Collection and the Paul Schrader Collection at the Harry Ransom Center, Austin, Texas (USA); costumes and design sketches by 36-01 35 Avenue Astoria, NY 11106 718 777 6800 movingimage.us Sandy Powell, London; original photographs by Brigitte Lacombe, New York. New for installation at Museum of the Moving Image: production material from Silence (2016). Media: Nearly 120 minutes of film clips from 32 of Scorsese’s films linked to the themes of the exhibition are shown on monitors and in projections; accompanied by an installation paying homage to the majority of Martin Scorsese’s productions. Exhibition space: Installed in the Museum’s Changing Exhibitions Gallery (4,000 sq. ft., third floor), Video Screening Amphitheater and connected gallery (1,700 sq. ft., second floor), and the lobby including the Schlosser Media Wall. Related screenings: Martin Scorsese in the 21st Century, December 16–30, 2016, presented in the Museum’s Redstone Theater. The first part of the Museum’s retrospective of the director’s work focuses on Scorsese’s post-2000 films including: The Aviator, The Departed, Gangs of New York, Hugo, Shutter Island, and The Wolf of Wall Street. Screenings will continue throughout the run of the exhibition. Related publication: In conjunction with the exhibition and retrospective, the Museum will publish a collection of reviews and essays about Martin Scorsese which were originally posted on the Museum’s online publication Reverse Shot, and edited by Michael Koresky and Jeff Reichert. The book will be available for purchase in the Museum Shop, but will also be available as a free PDF download. The essays will continue to be available for online reading at reverseshot.org. Other venues: Martin Scorsese has been on view at the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin, where it originated; Museo Nazionale del Cinema, in Turin; the Provincial Cultural Centre Caermersklooster, in Ghent; the Cinémathèque Française in Paris; and the Australian Centre for the Moving Image. It will be on view at the EYE Filmmuseum in Amsterdam after its time at Moving Image. Exhibition credits: The Museum would like to acknowledge the individuals whose hard work and vision have made this exhibition possible at MoMI. From Deutsche Kinemathek – Museum für Film und Fernsehen, Exhibition fact sheet for Martin Scorsese / Museum of the Moving Image Page 2 Berlin Artistic Director: Dr. Rainer Rother Curators: Kristina Jaspers, Nils Warnecke Project management: Peter Mänz Exhibition coordination: Vera Thomas Coordination at Sikelia Productions, New York: Marianne Bower Audiovisual media program: Nils Warnecke Editing of the audiovisual media: Stanislaw Milkowski, Concept AV, Berlin From Museum of the Moving Image Executive Director: Carl Goodman Curators: David Schwartz, Barbara Miller Project Management and Exhibition Design: Wendell Walker Exhibition coordination: Rhoda Cosme, Jannette Reichel, Daniel Silva Graphic Design and Installation: Angel Ortiz-Oyola Audiovisual installation management: Jason Eppink Exhibition installation and management: Pat Alvarado Exhibition funding: Martin Scorsese at Museum of the Moving Image is made possible by major support from Paramount Pictures, with additional support from ARRI, Technicolor, HBO, Delta Air Lines, and Moleskine. Museum mission: Museum of the Moving Image advances the understanding, enjoyment, and appreciation of the art, history, technique, and technology of film, television, and digital media by presenting exhibitions, education programs, significant moving-image works, and interpretive programs, and collecting and preserving moving-image related artifacts. Museum of the Moving Image is housed in a building owned by the City of New York and has received significant support from the following public agencies: New York City Department of Cultural Affairs; New York City Economic Development Corporation; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; Institute of Museum and Library Services; National Endowment for the Humanities; National Endowment for the Arts; and Natural Heritage Trust (administered by the New York State Office of Parks, Recreation and Historic Preservation). Press Contact: Tomoko Kawamoto, [email protected] / 718 777 6830 Exhibition fact sheet for Martin Scorsese / Museum of the Moving Image Page 3 .
Recommended publications
  • GANGS of NEW YORK Außer Konkurrenz GANGS of NEW YORK GANGS of NEW YORK Regie:Martin Scorsese
    Wettbewerb/IFB 2003 GANGS OF NEW YORK Außer Konkurrenz GANGS OF NEW YORK GANGS OF NEW YORK Regie:Martin Scorsese USA 2002 Darsteller Amsterdam Vallon Leonardo DiCaprio Länge 168 Min. Bill Cutting Daniel Day-Lewis Format 35 mm, Jenny Everdeane Cameron Diaz Cinemascope Boss Tweed Jim Boadbent Farbe Happy Jack John C.Reilly Johnny Sirocco Henry Thomas Stabliste Pfarrer Vallon Liam Neeson Buch Jay Cocks Walter „Monk“ Steven Zaillian McGinn Brendan Gleeson Kenneth Lonergan McGloin Gary Lewis Story Jay Cocks Shang Stephen Graham Kamera Michael Ballhaus Killoran Eddie Marsan Kameraführung Andrew Rowlands Reverend Raleigh Alec McCowen Kameraassistenz Tom Lappin Mr.Schermerhorn David Hemmings Schnitt Thelma Soonmaker Jimmy Spoils Larry Gilliard,Jr. Mitarbeit James Kwei Hell-Cat Maggie Cara Seymour Pat Buba P.T.Barnum Roger Ashton- Ton Ivan Sharrock Griffiths Musik Howard Shore Einarmiger Priester Peter Hugo Daly Production Design Dante Ferreti Daniel Day-Lewis, Leonardo DiCaprio Junger Amsterdam Cian McCormack Ausstattung Stefano Ortolani Junger Johnny Andrew Gallagher Kostüm Sandy Powell O’Connell Philip Kirk Regieassistenz Joseph Reidy GANGS OF NEW YORK Bills Gang Liam Carney Casting Ellen Lewis Das südliche Manhattan in den 60er Jahren des 19. Jahrhunderts, einer Zeit Gary McCormack Produktionsltg. Michael Hausman großer Unruhen in den USA – das Land steht kurz vor dem Bürgerkrieg. Für David McBlain Produzenten Alberto Grimaldi die arme Bevölkerung von New York tobt der Kampf allerdings schon lange Jennys Mädchen Katherine Wallach Harvey Weinstein – und zwar direkt vor ihrer Haustür. Korruption bestimmt die Politik, Gesetz- Carmen Hanlon Executive Producers Michael Ovitz Ilaria D’Elia Bob Weinstein losigkeit das Alltagsleben; rivalisierende Gangs kämpfen um die Vorherr- Gangmitglieder Nevan Finnegan Rick Yorn schaft auf den Straßen.
    [Show full text]
  • Modus Operandi Films and High Point Media Group Present
    Modus Operandi Films and High Point Media Group Present A film by Craig McCall Worldwide Sales: High Point Media Group Contact in Cannes: Residences du Grand Hotel, Cormoran II, 3 rd Floor: Tel: +33 (0) 4 93 38 05 87 London Contact: Tel: +44 20 7424 6870. Fax +44 20 7435 3281 [email protected] CAMERAMAN: The Life & Work of Jack Cardiff page 1 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN: The Life and Work of Jack Cardiff www.jackcardiff.com Contents: - Film Synopsis p 3 - 10 Facts About Jack p 4 - Jack Cardiff Filmography p 5 - Quotes about Jack p 6 - Director’s Notes p 7 - Interviewee’s p 8 - Bio’s of Key Crew p10 - Director's Q&A p14 - Credits p 19 CAMERAMAN: The Life & Work of Jack Cardiff page 2 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN : The Life and Work of Jack Cardiff A Documentary Feature Film Logline: Celebrating the remarkable nine decade career of legendary cinematographer, Jack Cardiff, who provided the canvas for classics like The Red Shoes and The African Queen . Short Synopsis: Jack Cardiff’s career spanned an incredible nine of moving picture’s first ten decades and his work behind the camera altered the look of films forever through his use of Technicolor photography. Craig McCall’s passionate film about the legendary cinematographer reveals a unique figure in British and international cinema. Long Synopsis: Cameraman illuminates a unique figure in British and international cinema, Jack Cardiff, a man whose life and career are inextricably interwoven with the history of cinema spanning nine decades of moving pictures' ten.
    [Show full text]
  • Introduction."
    O’Brien, Catherine. "Introduction." : . London: Bloomsbury Academic, 2018. 1–12. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781350003309.0005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 12:51 UTC. Copyright © O’Brien 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Introduction A statue of a Madonna and Child in a New York kitchen appears in the opening shot of Martin Scorsese’s Who’s That Knocking at My Door (1967–9); and the final image ofSilence (2016) is of a handmade crucifix glowing in the flames of a crematory fire in seventeenth-century Japan. It is inarguable that there is a Catholic dimension to Scorsese’s filmography that can be traced from the Marian icon in his first full-length feature right through to his movie about Jesuit priests that was released around fifty years later. With due respect paid to the scale of the task, the following chapters engage with that particular cinematic trajectory and take seriously the oft-quoted words of the director himself: ‘My whole life has been movies and religion. That’s it. Nothing else.’ Scorsese was born in 1942, educated by the Sisters of Charity and received his religious instruction before the mood of aggiornamento that was heralded by Pope John XXIII’s instigation of Vatican II (the Second Vatican Council of 1962– 5), which was an effort to modernize the Catholic Church. Indeed, religion(s) played a role in the young boy’s life, even down to the fact that his father Charles earned pragmatic money by lighting the stoves for his Jewish neighbours on the Sabbath.
    [Show full text]
  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'
    Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).
    [Show full text]
  • Collaborations of Martin Scorsese with De Niro And
    From Realism to Reinvention: Collaborations of Martin Scorsese with De Niro and DiCaprio By Travis C. Yates Martin Scorsese is considered by many to be the greatest film director of the past quarter- century. He has left an indelible mark on Hollywood with a filmography that spans more than four decades and is as influential as it is groundbreaking. The proverb goes, “It takes a village to raise a child.” The same could be said of cinema, though one popular filmmaking theory refutes this. French filmmaker Jean-Luc Godard said of the filmmaking process, “The cinema is not a craft. It is an art. It does not mean teamwork. One is always alone on the set as before the blank page” (Naremore 9). Film theorist Robert Stam discusses this concept of auteur theory in Film Theory: An Introduction , an idea that originated in postwar France in the 1950s. It is the view that the director is solely responsible for the overall look and style of a film. As Colin Tait submits in his article “When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver ,” the theory is a useful tool at best, incorrect at worst. Tait criticizes the theory in that it denies the influence of other artists involved in the production as well as the notion of collaboration. It is this spirit of collaboration in Scorsese films featuring two specific actors, Robert De Niro and Leonardo DiCaprio, which this this paper will examine. Scorsese has collaborated with De Niro on eight films, the first being Mean Streets in 1973 and the most recent being Casino in 1995.
    [Show full text]
  • Book on Martin Scorsese, and January Screenings, in Conjunction with Scorsese Exhibition
    FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE ANNOUNCES PUBLICATION OF ‘REVERSE SHOT’ BOOK ON MARTIN SCORSESE, AND JANUARY SCREENINGS, IN CONJUNCTION WITH SCORSESE EXHIBITION Martin Scorsese: He Is Cinema, a Reverse Shot/Museum of the Moving Image monograph with essays on every major Scorsese film, is celebrated with January 29 book signing January 15–April 23, 2017 Astoria, New York, January 11, 2017—In conjunction with Martin Scorsese, a major exhibition devoted to the director’s life, work, and love of cinema, currently on view in its galleries through April 23, and a comprehensive retrospective featuring all of Scorsese’s films, Museum of the Moving Image has published a book in partnership with its online publication, Reverse Shot. Martin Scorsese: He Is Cinema (2017), featuring essays on every Scorsese film by regular contributors to the magazine, was edited by Michael Koresky and Jeff Reichert, co-founders and co-editors of Reverse Shot. To celebrate its publication, the Museum will host a book signing on Sunday, January 29, after a screening of Raging Bull. The book is available exclusively in the Museum shop ($20). Most of the essays were originally published in earlier versions on Reverse Shot for a symposium on Martin Scorsese (available online), but new essays have been commissioned for the book, which also features a foreward by Chief Curator David Schwartz and an introduction by Koresky and Reichert. Chapters include Ashley Clark and Imogen Sara Smith on Taxi Driver, Jordan Cronk on Mean Streets, Eric Hynes on Gangs of New York, Koresky on After Hours and Raging Bull, Aliza Ma on Shutter Island, Adam Nayman on Goodfellas and Silence, Max Nelson on New York, New York, Nick Pinkerton on The King of Comedy, Reichert on Italianamerican and The Wolf of Wall Street, Genevieve Yue on Hugo, and many more.
    [Show full text]
  • Copyright by S. Dennis Gilbert 2020
    Copyright by S. Dennis Gilbert 2020 The Thesis Committee for S. Dennis Gilbert Certifies that this is the approved version of the following Thesis: Lower East Side Cowboy: On Viewing Martin Scorsese’s Gangster Pictures Through A Western Lens APPROVED BY SUPERVISING COMMITTEE: Thomas Schatz, Supervisor Charles Ramirez-Berg Lower East Side Cowboy: On Viewing Martin Scorsese’s Gangster Pictures Through A Western Lens by S. Dennis Gilbert Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2020 Dedication for Kelli & Ben Acknowledgements I would be remiss if I did not thank my advisor, Tom Schatz, for his time, thoughtful comments and editing prowess across the many iterations (as well as his patience through several delays) that culminated in making this thing what it is today. I am also grateful to Charles Ramirez-Berg for his patience and faith in the project. Thank you. v Abstract Lower East Side Cowboy: On Viewing Martin Scorsese’s Gangster Pictures Through A Western Lens S. Dennis Gilbert, M.A. The University of Texas at Austin, 2020 Supervisor: Thomas Schatz Despite a five decade long career and a body of work that encompasses nearly every format and genre of film, in both popular and professional circles, Martin Scorsese’s name is synonymous with the gangster picture. He is also known for his devout, lifelong cinephillia, initiated, at least in part, by a boyhood obsession with Westerns; particularly, John Ford’s The Searchers (1956), which has remained a mainstay in the director’s interviews and discussions.
    [Show full text]
  • Bamcinématek Presents Under the Influence: Scorsese/Walsh, a 12
    BAMcinématek presents Under the Influence: Scorsese/Walsh, a 12-film series pairing Martin Scorsese works with their inspirations from Raoul Walsh’s seminal oeuvre, Mar 12—26 Opens with Walsh’s Regeneration, featuring live piano by acclaimed silent film accompanist Steve Sterner The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Feb 12, 2014—From Wednesday, March 12 through Wednesday, March 26, BAMcinématek presents Under the Influence: Scorsese/Walsh, pairing six Scorsese classics with their inspirations from Raoul Walsh’s seminal oeuvre. The still-undervalued Walsh’s lean, mean portraits of gangsters, knack for evoking gritty urban locales, and assured handling of white- knuckle action provide a virtual template for modern-day maestro (and avowed Walsh admirer) Martin Scorsese’s work. Viewed side by side, the films of these two iconic auteurs reveal a fascinating and ongoing creative dialogue across the generations. One of the great action directors of the Hollywood studio era, Raoul Walsh was the swaggering, manly-man artist behind some of the best movies to star James Cagney, Humphrey Bogart, and Errol Flynn. ―Walsh’s explosive outcast characters were bigger than life,‖ said Martin Scorsese, whose own violent, masculine oeuvre is just as full of explosive outcasts. ―Their lust for life was insatiable, even as their actions precipitated their tragic destiny. The world was too small for them.‖ Walsh was ―probably Scorsese’s single most important influence,‖ wrote critic Dave Kehr (Moving Image Source), even if Scorsese’s debts to Michael Powell, Luchino Visconti, and other filmmakers have been more widely acknowledged over the years.
    [Show full text]
  • Shutter Island
    SHUTTER ISLAND regia Martin Scorsese con Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Michelle Williams, Emily Mortimer sceneggiatura Laeta Kalogridis fotografia Robert Richardson montaggio Thelma Schoonmaker scenografia Dante Ferretti costumi Sandy Powell produzione Phoenix Pictures, Sikelia Productions, Appian Way, Paramount Pictures distribuzione Medusa durata 2h18m Usa 2010 La trama: 1954, coste di fronte Boston. Il tenente della polizia Teddy Daniels e il suo nuovo compagno Chuck Aule, arrivano su un'isola-fortezza che ospita un manicomio criminale. Una detenuta incarcerata per l'omicidio dei suoi tre figli è scomparsa misteriosamente da una cella blindata. Fra oscuri psichiatri e pericolosi psicopatici i due si troveranno invischiati in una storia sempre più fitta di misteri e inspiegabili verità che metteranno a dura prova il loro equilibrio. Il regista: Fra i più grandi registi della storia del cinema, Scorsese nasce a New York da genitori italiani il 17 novembre 1942. Avviato in gioventù ad una carriera ecclesiastica, abbandona la Chiesa per il cinema. Il suo primo film Chi sta bussando alla mia porta? risale al 1969. Ha diretto ventinove lungometraggi, tutti considerati pietre miliari del cinema moderno, e diversi documentari. Fra i suoi film ricordiamo Taxi Driver ('76), Palma d'Oro a Cannes, New York, New York ('77), Toro scatenato ('80), Fuori orario ('85), L'ultima tentazione di Cristo ('88), Quei bravi ragazzi ('90), Casinò ('95), Kundun ('97), Gangs of New York ('02), The Aviator ('04), The departed ('06). Attivissimo, dopo l'atteso oscar ottenuto per The departed ha diretto due documentari, Shine a light ('08) sui Rolling Stones e Living in the material world: George Harrison, dedicato al compianto membro dei Beatles, attualmente in post- produzione.
    [Show full text]
  • DAVID TEDESCHI Editor
    DAVID TEDESCHI Editor PROJECTS DIRECTORS STUDIOS/PRODUCERS PRETEND IT’S A CITY Martin Scorsese NETFLIX Documentary Series Emma Tillinger Koskoff Josh Porter UNTITLED SCTV DOCUMENTARY Martin Scorsese Emma Tillinger Koskoff ROLLING THUNDER REVUE Martin Scorsese Jeff Rosen, Margaret Bodde VINYL Martin Scorsese SIKELIA PRODUCTIONS / HBO Pilot Mari Jo Winkler AMERICAN DREAM / Antoine Fuqua PHOENIX PICTURES AMERICAN KNIGHTMARE SHOWTIME Brad Fischer, Eva Gunz GEORGE HARRISON: Martin Scorsese Margaret Bodde, Nigel Sinclair LIVING IN THE MATERIAL WORLD Nominee, Best Doc. Editing – Emmy Awards Nominee, Best Doc. Editing – ACE Eddies PUBLIC SPEAKING Martin Scorsese HBO FILMS Margaret Bodde, Graydon Carter Fran Lebowitz THE ROLLING STONES: SHINE A LIGHT Martin Scorsese Zane Weiner, Mick Jagger NO DIRECTION HOME: BOB DYLAN Martin Scorsese Jeff Rosen, Jessica Cohen Nomination, Outstanding Editing – Emmy Awards EL CANTANTE Leon Ichaso Simon Fields THE SHIELD Various Directors FX Series, One Season Scott Brazil, Shawn Ryan THE BLUES: FEEL LIKE GOING HOME Martin Scorsese PBS Sam Pollard, Alex Gibney PINERO Leon Ichaso MIRAMAX John Penotti AMERICAN HIGH R.J. Cutler FOX Pilot & Series Dan Partland Henriette Mantel THE AWFUL TRUTH Michael Moore BRAVO Series EL SILENCIO DE NETO Luis Argueta MORNINGSIDE MOVIES Official Selection – Sundance Film Festival Adrian Grunberg FREE OF EDEN Leon Ichaso SHOWTIME Cedric Scott AZUCAR AMARGA Leon Ichaso FIRST LOOK PICTURES Jaime Pina AMERICA’S CHALLENGE Barbara Kopple CABIN CREEK FILMS TV NATION Series Michael Moore FOX Winner, Outstanding Non-Fiction Program Emmy Awards INNOVATIVE-PRODUCTION.COM | 310.656.5151 .
    [Show full text]
  • Análisis Del Texto Publicitario the Key to Reserva Formas, Estructuras Y Expresiones
    FACULTAD DE CIENCIAS SOCIALES, JURÍDICAS Y DE LA COMUNICACIÓN Grado Publicidad y Relaciones Públicas Análisis del texto publicitario The Key to Reserva Formas, estructuras y expresiones Trabajo de fin de Grado presentado por Fátima Couto Romero Tutora: Dña. Luisa Moreno Cardenal Segovia, 26 de Junio de 2017 1 2 Para ti, por creer siempre en mí, eternamente en mi corazón, Mi Imago Primordial. 3 4 EL SPOT CONTEMPORÁNEO. FORMAS, ESTRUCTURAS Y EXPRESIONES RESUMEN: Este trabajo tiene como objetivo de estudio el análisis del texto publicitario The key to Reserva, anuncio o corto publicitario que ha contado con la colaboración del aclamado director de cine Martin Scorsese, y con una invitación especial Alfred Hitchcock; para mostrarnos una vez más el clásico navideño de la marca Freixenet. Para ello, se estudiarán y analizarán todos aquellos elementos y códigos que han significado a la imagen de un sentido particular. Palabras Clave: publicidad, cine, Scorsese, Hitchcock, Freixenet 5 ÍNDICE 1. Introducción .............................................................................................................. 2 2. Marco teórico y metodología aplicada ..................................................................... 4 2.1. Del texto al texto publicitario ..................................................................... 6 2.2. El cine-lengua .............................................................................................. 8 2.2.1. La impresión de la realidad ..............................................................
    [Show full text]
  • Martin Scorsese's Screening Room: Theatricality, Psychoanalysis, and Modernity in Shutter Island
    Chapter 10 Martin Scorsese’s Screening Room: Theatricality, Psychoanalysis, and Modernity in Shutter Island Stephen Mulhall Even a cursory survey of the critical literature on Martin Scorsese suggests that a number of shared assumptions underlie its more local disagreements: that Scorsese’s imperial phase ended around the time of Casino (1995), that this non-accidentally coincided with the end of his long collaboration with Robert De Niro and the beginning of his equally long collaboration with Leonardo DiCaprio, and that most of his subsequent non-documentary work manifests a loss of aesthetic force that reflects his personal transformation from excit- ing, experimental outsider to respectable member of the Hollywood establish- ment. The most recent edition of a book which contains one of the strongest critical accounts of Scorsese’s work makes these assumptions explicit: [Since Kundun (1997)] Scorsese has … attempted to redeem himself as a commercially viable film-maker … The period of intense cinematic ex- perimentation seems to have ended with Goodfellas … He has …, in the process, adopted Leonardo DiCaprio as a replacement for Robert De Niro as his container for fictional characters. The difference in the on-screen presence of these two actors is interesting and reveals a lot about Scors- ese’s change in perspective on his work [sic]. Under his direction, De Niro is always full of a menace that threatens, and often succeeds, in spinning out of control [sic] … He is the director’s surrogate, not so much as a char- acter but as a force of directorial assault on the very basic conventions of film-making.
    [Show full text]